The Dog and Pony Show: the second annual IAB Podcast Upfronts
The Dog and Pony Show. Yesterday saw the second annual IAB Podcast Upfronts, the industry event meant to drum up interest in the medium among ad buyers. The day’s programming — which was long, exhausting a full-day affair that ran over eight hours that nearly drove me to my first cigarette in a long while — was packed to the brim with endless announcements and minutiae. In the interest of time, I’m just going to stick what the things that struck me as interesting in terms of what it says about where we’re going, along with some spattering of notable, piecemeal developments. Do read the write-ups over at theWall Street Journal, AdAge, and AdExchanger if you’re looking for broader overviews.
We gonna get wonky here.
(1) This year’s festivities saw an increase in the number of participating presenters, from eight podcast publishers to twelve. The returnees were: NPR, WNYC Studios, ESPN, CBS, AdLarge, Panoply, Midroll, and Podtrac’s recently spun-off ad sales arm known as Authentic. Joining the slate were: Wondery, HowStuffWorks, Time Inc., and PodcastOne. A strange mish-mash of companies, to be sure, with the proportion of companies with legacy media roots slightly outweighing the digital natives. (My personal count on the latter category: HowStuffWorks, Panoply, Midroll, Podtrac.)
(2) In their presentation yesterday, Panoply announced that it was building something they regarded as an “imprint,” to borrow a book publishing concept, around the author Gretchen Rubin, which hosts the popular “Happier” podcast on the network. Following something of a sub-network model, Rubin is set to help curate a collection of podcasts within the self-improvement genre, likely drawing from her community of like-minded writers. This isn’t the first time such a model would be tested; Midroll, of all places, tested this out with its Wolfpop network, which was curated by comedian Paul Scheer. Wolfpop was later folded into Earwolf when Midroll moved to streamline its content offerings.
But the real thing of interest here is Panoply’s use of the book publishing analogy. That company has consistently exhibited behaviors that suggest a lean towards the direction of that industry— especially now, as it builds products around known quantities within the book publishing space, like Malcolm Gladwell and Sophia Amoruso — and a recent quote by Slate chairman Jacob Weisberg, which was published in a recent Ken Doctor column(more on that later), further emphasized this possible way that the company views itself:
In the world of books, nobody cares if something is published by Viking or Random House. They care about the author and the book. I think podcasting is going to be more like that.
(3) “1 in 5 podcast listeners are listening to an ESPN podcast,” said JonPaul Rexing, ESPN’s Senior Director of Sales, apparently citing numbers from Edison Research. This particular method of presenting audience data seemed to gain some currency in yesterday’s event, with Time Inc. also adopting similar language. In a press release that accompanied their presentation, the company noted that its podcast programming “reaches 3 in 4 adults who have listened to a podcast,” citing numbers from comScore-MRI Fusion. I have a little trouble internalizing these stats, the boldness of which doesn’t seem to square at all with the medium’s long-running distrust in its apples-to-apples analytics at an industry-wide level. (Not directly relevant, but totally worth knowing: ESPN works withfirst party data.)
(4) Speaking of ESPN, I find myself unreasonably excited about its upcoming podcast adaptation of the brand’s well-loved “30 for 30” documentary series. (News of the adaptation first surfaced back in July, when the relevant job listings went up.) The show’s first season is scheduled for an early 2017 rollout, and the production team will be announced publicly soon. I’m told that they will include alums from WNYC, NPR, and the BBC. And from the rumors I’ve heard about their identities, I’m very, very excited. And so was senior producer Jody Avirgan when he announced the project on-stage, who seemed beside himself as he enthused, “We’re going to be committing acts of journalism,” uttering that oft-quoted phrase.
(5) There’s a bit I really enjoyed in AdExchanger’s coverage of the event that discusses skepticism over dynamic ad insertion. Check out the whole article, of course, but here’s the money:
“We are typically hearing from advertisers who are the biggest, longest-term folks in the space [that they] are concerned about insertion,” said Midroll’s (Lex) Friedman. “The networks that force them to move to insertion are seeing performance worsen.”
This sentiment echoes an item I wrote back in May, which involved reservations expressed by Mack Weldon’s marketing manager Collin Willardson (an aggressive buyer of podcast ads) about the technology. “Dynamic ad insertion disassociates the host from the advertiser, so they care less about the actual product or brand they’re trying to sell,” he told me then. “Audiences pick up on that, and quickly tune out.”
The New York City Mayor’s Office of Media and Entertainment is apparently working on a report on the state of the podcast industry in the city, which will likely include an examination of its labor dynamics. (Re-upping this Adam Ragusea piece, as appropriate.) A city-driven ad campaign to raise podcast awareness is also impending.
Edison Research rolled out some additional data points to their Share of Ear study, revolving around the way podcast consumers relate to the medium’s current advertising executions and practices. You check those out in a report posted on the IAB website ahead of the upfront.
AdLarge announced its own consumer-facing podcast play: a platform called “Cabana.” Details to come.
Panoply’s branded podcast collaboration with GE, which resulted in last year’s The Message, is due for a second show later this year.
Also for the horse-race observers, Midroll is now repping APM’s Brains On!, which they grouped with The Longest Shortest Time as a parenting show. And speaking of Midroll, they’re trying their hand at true crime, with a show about the Boston Strangler called “Stranglers,” which comes out of a partnership with documentary shop Northern Light Productions. (Not that anybody asked, but my favorite Boston Strangler media is the Sebastian Junger book, “A Death in Belmont.”)
Night Vale Presents’ new show: something called the Orbiting Human Circus. Their ad sales are being represented by Authentic.
Time Inc. officially announced its slate of podcasts yesterday. You can find the details in the customary press release. And speaking of Time Inc., one of its brands, Sports Illustrated, announced its own batch of new shows this week. It also mentioned that it is now partnered up with DGital Media. This marks the brand’s move away from Panoply, which it previously worked with on the podcast front. I was told the departure was amicable.
Wow that made my neck hurt.
What’s going on? This year’s upfront festivities took place in Time Inc.’s Henry R. Luce auditorium in downtown Manhattan, which is somewhat of a step up in lavishness compared to last year’s venue, the more homelier Greene Space at WNYC. That isn’t intended as shade on the Greene Space, which I love. Rather, I state it as an indication of an underlying problem.
While the proceedings yesterday were significantly smoother compared to last year’s festivities — “there’s air-conditioning!” was a common refrain among attendees, a reference to some ventilatory disturbances that happened back then — it was also significantly stranger, a little more strained. It had, simultaneously, the feel of a child wearing a much-too-big blazer and the feel of a much-too-older man at a college party.
The former comes something I’ve articulated before; that is, the strangeness of the podcasts, as the new new thing, appropriating the traditional structure of the upfront ritual, an anthropological performance carried over from the old world of commercial television and radio. I called it a conservative stance, one that operates off the sense that you win trust by performing the rituals they do and by the looking the way they look, as opposed to creating new rituals, spaces, and market expectations of their own.
The latter comes out from what is an inevitable dynamic: the entrance of folks from legacy radio backgrounds bringing in legacy radio sensibilities, along with a not insignificant amount of overconfidence that those sensibilities will transition well — and in a manner that isn’t destructive — as they followed both the potential money and the new cool. It is that sensibility that defined the tone of yesterday’s festivities, I think: enunciations of the stereotypical tropes associated with the positive elements of the medium, but devoid of its rich, glorious complexities.
This upfront, at this particular point in time, bore the responsibility of publicly constructing the narrative of the medium for the benefit of not just the advertising community, but everything else around it as well. Some of those people were not ready to tell that, and the ones who were, alas, were given the wrong stage to do it. The result? A deficiency of cool — a currency vital to the function of a creative advertiser — and a representation of a medium, with all the power and thrills and beauty it contains, that only fleetingly comes close to being vaguely recognizable.
(I’m going to get my ass kicked, aren’t I?)
“It’s kind of a coming out party,” said Jason Hoch, the Chief Content Officer ofHowStuffWorks, when we spoke on Tuesday ahead of the IAB Podcast Upfronts. “I mean, people have heard of us, it’s just that they didn’t realize we were as big are.”
I’ve committed my fair share of sins writing this newsletter, and perhaps one of the biggest is the lack of attention I’ve paid to HowStuffWorks, the eighteen-year-old Atlanta-based digital media outfit that also happens to be one of the strongest, and most interesting, podcast operations currently running. A multi-platform entity spanning across audio, video, and text that has transferred ownership a few times — its current parent company is Washington-based Bluecora — HowStuffWorks has built a considerable following on its so-called “longform edutainment” programming whose strengths, in my view, are largely tethered to its enthusiastic hyper-focus on subject verticals —which are Wikipedia-esque in scope and sprawl — and celebrity-creation, which gives the company a digital sensibility vaguely reminiscent of YouTube Multi-Channel Networks (MCN). It’s overwhelmingly pleasant, smart, and nourishing.
The podcast arm of HowStuffWorks is substantial, twelve shows strong at this writing, and it’s growing substantially. According to a press release sent out earlier this week, the network tripled its downloads over the past two years, from 8.8 million monthly downloads in 2014 to over 28 million downloads in June 2016. Download volumes, I’m told, are split equally between new episodes and across the network’s back catalogues. (Worth noting: HowStuffWorks relies on Podtrac’s measurement standards, and regularly appears in the latter company’s monthly podcast ranker.)
Hoch tells me that Podtrac’s Industry Rankings, which was introduced in May and ranked networks by unique monthly downloads in the US, proved to be a boon for the network. HowStuffWorks debuted in the fourth spot, where it stays, and while the ranker should be interpreted with copious disclaimers (context and caveats can be found in a previous Hot Pod), it brought the company a great deal of fresh attention. “The in-bounds we got from that were amazing,” Hoch said, exuding confidence over advertising prospects. (Relevant: the company has secured Liberty Mutual as an exclusive advertiser on its CarStuff podcast for a full year, if that’s interesting to you.)
So, what does the future hold for HowStuffWorks? I’m told that the company expects to double its podcast revenue across the next year, and that more shows — along with some possible headcount expansion — should be expected down the line. But I’m also told to watch out for a technology-related development. In a tech-environment that seems more than a little ad-tech envious, I’m curious to see what, exactly, this means.
One more thing: I find myself endlessly fascinated by the company’s physical placement in Atlanta. I’ve often that it’s a great media city, beyond Turner Broadcasting, Hoch tells me that between the university system and the region’s robust film and television industry (which he claims is substantially better than that of Los Angeles), he has easy access to a strong talent pool for both talent and engineering. Speaking as someone who is growing increasingly weary of the coasts, that’s utterly welcome news.
Juicy, juicy details. I fucking love media analyst Ken Doctor and his Newsonomics columns — which tend to be extravagantly long and mercilessly wonky — and so it was such a pleasure for me to find that he’s put out two very separate podcast-related analyses over the past week; a publishing schedule that’s undoubtedly tethered to this week’s upfronts. (Press pushes, they’re a thing.)
The first column, published in Politico, is structured around newly-announced developments at the New York Times’ audio team and contains several bits of detail that, as a collective, vividly illustrates how this baby industry operates on a ecosystemic-level.Do read the whole column in its entirety, but here are my highlights:
The New York Times announced its new podcast on Tuesday, “Still Processing,” a culture podcast featuring critic-at-large Wesley Morris (formerly of the now-defunct Grantland and “Do You Like Prince Movies?” podcast) and the NYT Mag staff writer Jenna Wortham (who focuses on technology and culture in the broadest sense, and who was gave a really wonderful interview on a recent ep of the Recode Media podcast). This launch comes several weeks after the Times launched “The Run Up,” its election podcast, establishing what appears to be start of a pretty aggressive rollout strategy.
“Still Processing” is produced in partnership with Pineapple Street Media. The project was hinted at in a previous Hot Pod.
The Times’ podcasts are now hosted on Art19. This new Art19 partnership was also hinted in a previous Hot Pod, and I assure you there are more big partnership announcements to come. Watch for them.
Andy Mills, a long-time Radiolab producer (the one with the hair), is joining the New York Times’ audio team, further illustrating the team’s strategy of recruiting from the public radio talent pool.
The Times has a “three-year investment” in the audio team, which I’m reading as, more or less, a three-year runway.
Between its selective partnerships, the manner in which its spread its bets, and the way it juxtaposes internal development with external collaborations, I think the Times is hitting a very sweet spot between being strategic caution and intelligent risk. Half of the battle, frankly, is starting out in a good position, and while some of their partnerships (and projects and hires) will probably fail, they’re configured to do so in a way that’ll help them survive into the next step.
Doctor’s second column, published in Current, is far more exhaustive and surveys the breadth of the industry along with its requisite opportunities. This piece, in particular, I’m not going to disrespectfully butcher through excerpt and extensive aggregation, and I highly encourage you to spend some time with this. But I did want to point out an idea embedded in the write-up that I’m currently turning around in my head:
In the wider sense, podcasts offer tryouts for public radio, “minor leagues” for talent development, with candidates given greater responsibility and opportunity to be coached and nurtured. Further, the freer and bigger market for audio talent begins to impact hiring throughout the public radio ecosystem.
This is true beyond the public radio system, as we’ve seen with the emerging trend of podcast-to-TV adaptations and the continuous stream of moneyed networks picking up homegrown independent podcasts. It’s a function of, and remains a testament to, the medium’s creator-friendly openness. (The condition of which, by the way, is increasingly thought to be contested as the industry professionalizes.)
Quick note. The IAB Tech Lab issued some guidelines for podcast advertising earlier this week. Check out the Adage write-up, and expect my analysis next week.
Early last week, American Public Media announced a new investigative podcast, “In The Dark,” that’ll examine the child abduction of Jacob Wetterling in rural Minnesota — the case that led to a law enforcing state sex-offender registries. In a chilling coincidence, Wetterling’s remains were discovered last Thursday. The podcast launched early Wednesday morning, with the reporting fully on the case. “In The Dark” hit at the top of the charts earlier this week, on the strength of its teaser. (iTunes, Star Tribune)
Midroll has a new CEO: Erik Diehn, formerly the company’s VP of Business Development. He replaces Adam Sachs, who announced his departure from the company back in June after two years in the role. Also, Lex Friedman, formerly the EVP of Sales and Development, is the company’s new Chief Revenue Officer. (Company blog)
This is pretty cool: WNYC is finding some success in using text-to-donate campaigns whose call-to-actions are included in their podcasts. It’s still not a system where you can donate directly to a specific podcast, however, but I think that set-up is never going to happen. (Current)
Jonathan Goldstein’s new show, which he’s making at Gimlet, is FINALLY coming out later this month. I swear it’s like summer is the season everyone drops stuff even though we’re all on vay-cay. (iTunes)
Pandora is experimenting with the host-read advertising format, which it will use in the music-interview show hybrid station the company is launching with musician Questlove — who, together with Malcolm Gladwell, gave the opening keynote at yesterday’s IAB podcast upfront. (Digiday)
NPR’s going for that sweet Tim Ferriss-Recode-Startup money with “How I Built This,” a new interview podcast about entrepreneurship and stuff. Hosted by Guy Raz, that other guy with the cool glasses. (NPR)
Starbucks’ branded pods. Yep. Part of a larger multi-platform branded content situation. (TechCrunch)
Apparently there’s a piece of fancy apparel called the “Boho Mid-length Long Sleeve Podcast Co-Host Top,” courtesy of Modcloth. No, this isn’t a native ad, but I’m all ears if someone from Modcloth is reading this. (NY Mag, WBEZ’s Nerdette podcast also did some digging)
Okay, so I totally screwed up this week and I forgot to ask a surrogate to recommend a show. I’ll give you a quick one then: someone just turned me onto “No Such Thing as a Fish” two nights ago, and I’ve been mainlining this thing ever since. If you’re at all familiar with the British humor show QI, you need to be on this RIGHT NOW. If you’re not already, of course.